《我派对》－林志鹏摄影个展
2008年6月28日－7月13日
北京宋庄美术馆
策展人： 栗宪庭

曾经在时尚媒体工作的林志鹏，养成了随身带着相机的习惯。他喜欢抓拍他的生活，他的朋友，他眼里的风景。他的作品里，无论具有有故事性的画面，还是瞬间感受，他都在追求一种他想表达的美感，一种违反顺序的，违反日常审美的，甚至有些破坏性的美感。他认为这是一种“原态”的美，他希望尽量多地去抓住闪现在眼前的“原态美”。

在他的作品里，桃红色的墙，绿色碎花的床单，这些艳丽的色彩都是他所喜爱和热衷扑捉的。还会出现很多他这个年代的商业标志，薯条，牛奶，名牌内裤，时髦的鞋子……这些具有强烈时代感的物品，构成了林志鹏的生活环境—— 生活物质对他以及他一代来说，不是拿来使用的，而是拿来玩耍的。甚至具有私密感的“性”，也是他游戏的方式。

他自己这样说：“我的摄影方式不具什么社会责任感，多数是自己与朋友的生活中的无数个瞬间。 抓拍是我拍摄最主要的方式。题材散漫，大多数关注的是年轻人的状态。喜欢那种虚妄的甜蜜，少年的桀骜与绝望，暧昧尖锐的青春和性。”

“我派对”――林志鹏作品印象

我一直企图寻找一个词表达林志鹏作品带给我的感动，他的作品拍出了这个时间段年轻人那种带点虚拟妄想般的自娱自乐的生活感觉，九十年代中期以后，广东的郑国谷和杨勇同样以拍摄城市年轻人的生存感觉闻名于世，相比之下，郑国谷作品中的那份玩笑、戏谑，以及对生活场景的扫射般“海选”方式，杨勇作品中那份漫不经心的旁观，在林志鹏作品中代之的是细致入微和“私照”般的无距离感觉，以及沉醉其中的感情介入――相机的视角不是他者角度的记录，他的相机如他的手足，和他的生活一起嬉戏和掉泪，相机之于林志鹏，如同布娃娃之于儿童，和他们一起过家家――轻松但不戏谑，伤感却甜美，如林志鹏自己说的“喜欢那种虚妄的甜蜜，少年的桀骜与绝望，暧昧尖锐的青春和性。”尤其是作品所提供的感觉，不仅仅是让观者“看”到了，而是仿佛让人有种亲历和参与的感觉，这是林志鹏独特的视角和语言方式。所以镜头漫无边际，随时随地，涉及到生活的每一个局部，看似不经意的镜头中处处留意：一个穿丝袜和高跟鞋的脚和腿的局部，一个翘起屁股和超短裙形成象火鸡尾巴一样的局部，一个穿T恤正好套住头部瞬间，一个放着一只玩具鸡的臀部侧面………因为时尚，或者美丽，或者有趣，或者有“暧昧尖锐的青春和性”的感觉，让林志鹏定睛在这个局部，并通过这些看似“私照”的局部，得以区别于大量网路版的“私照”，而成为作品。

林志鹏的这些照片，无论是随手拈来的生活片断，还是那些似摆拍的人物动态，都有一种与司空见惯的世俗生活相异的“非日常”感觉，象那幅放着一只玩具鸡的臀部侧面，身体呈弓形肚子顶在墙上的女孩，浸在浴缸水里睁着眼睛抹口红的女孩，浸在浴缸里嘴里含着香蕉的男孩，吐奶的女孩，两只挂满精液的手……，这种非世俗日常感觉，恰恰是他们这一代或者这群年轻人的日常感――虚妄的自娱自乐的生存美感。所以我想到一个词“派对”，“我们的派对”，展览推介人孟丹枫建议改成“我派对”，说纽约时报称呼1980年代出生的人是ME GENERATION，用“我”直接组和“派对”，简洁又不合语法，象网路语言。他们的生活本身有种“网路感觉”，是一个与世俗生活不一样的“派对”状态，日常生活就象过家家，在没有传统的道德和习惯，没有慷慨激昂的社会气氛中，自我构建着一个舞台般的私密和虚拟的“真空”，他们的爱、性、伤感、欢乐，如涓涓细流，任其流淌在自娱自乐自编自演的人生戏剧中。

这是一种消费的生活状态，既消费着时尚，又消费着自己，从这些图片中，我们既看到泊来的名牌衣物、薯条，又看到他们身体上脐钉、舌钉、刺青、红指甲和浓妆，以及艳丽的色彩，在简陋生活环境的衬托中，鲜活、肤浅又刺激。他认为这是一种“原态”的美，他希望尽量多地去抓住闪现在眼前的“原态美”，这种凸现的消费和被消费的生存美感，远离了传统文化和社会公共价值，既个人，又国际，象网路，让人兴奋也让人恐惧。

栗宪庭
2008-6-26

ME PARTY

I have been searching for an adequate word to describe how I was touched by Lin Zhipeng‘s photos, which vividly reveal the milieu of the present young generation; which is characterized with a kind of imaginary and whimsical self-entertainment. After the mid-90s, Zheng Guogu and Yang Yong, from Guangdong, became popular for their photos about the life of youth in cities. The playfulness, humor, and sweeping “mass selection” of the life scenes found in Zheng Guogu’s photos , together with the detachment and ennui in Yang Yong‘s photos, are replaced by a detailed nullification of distance, even somewhat intimate, and the sense of intoxicated emotional involvement in Lin Zhipeng’s photos.

He thinks that the camera ought not to document from any perspective other than the vantage point of the bearer; in other words, his own viewpoint takes precedence. He treats the camera as one of his dearest siblings, or as an extension of his own body, that experiences both the happiness and woe of quotidian life. The camera, to Lin Zhipeng, is also akin to the relationship between a doll and a child, for he is “playing house” with his camera, in a light but not playful mood, with a sentimental yet not saccharine tone. As he once said, “the fabricated sweet sensation, the stubbornness and desperation particular to adolescents, and the ambiguous but simultaneously definitive nature of youth and sex are all my favorite topics.” The feeling that is generated, in particular, not only grants the viewer the agency to “see”, but also permits him to witness and to participate in the scene.

This is what is unique about his perspective and photographic language. Therefore, no specificity exists, and any scene in any place and at any moment may become his theme. There is a kind of focus in the ostensible oblivion of moments, such as part of a leg and a foot in stocking in a high-heel, protruding hips and a miniskirt reminding us of the tail of a turkey, a T-shirt, while being pulled on, covering the head, and the profile of the tail of a toy chicken… Either driven by fashion or beauty, interest or “the ambiguous but simultaneously definitive nature youth and sex”, Lin Zhipeng focuses on this part of life, which, is regarded as intimate and private, distinguishes his photos from those web ones and turn them into works of art.

These photos, either of casual capturing of episodes of quotidian life or of poses, call forth an “unconventional” sense that is different from the everyday life routine—— the profile of the tail of a toy chicken, the bowing girl with stomach leaning against the wall, the girl lipsticking in the bathtub with wide open eyes, the boy in the bathtub with a banana in mouth, and the girl vomiting milk, two hands clothed in sperm. Such sense of the unconventional or even uncanny everyday life is particular to this generation or this group of generation, a kind of sense of imaginary existential beauty. I thus got a word, “party”, “our party”, for the exhibition, but Meng Danfeng, publicist of the exhibition, suggested that I change it into “me party”, saying that in New York Times, “me generation” is used to refer to the generation born after 1980s. To combine “me” with “generation” is a good choice, for it is short and ungrammatical, like web language. Moreover, in their lives there is a certain feeling similar to that one can experience online, a state of “party”, different form everyday life. They play houses in their everyday lives, building on their own a stage-like private secret and virtual vacuum with neither the bond of traditional moral standard and customs, nor high-spirited social atmosphere, in which their love, sex, sorrow and happiness are streaming unrestrained through their self-directed and self-performed play of life for self-entertainment.

This is a state of life characterized with consumption, in which they consume both fashion and themselves. We can find not only imported clothes of well-known brands and French fries, but also naval rings, tongue rings, tattoos, nails varnished red and faces, heavily made—up, and bright colors as well. All, with the setting of simple life situations, become fresh, shallow and sensational. He considers it “primary beauty”, which he hopes to seize as much as possible. This highlighted sense of existential beauty of consuming and being consumed, detached from traditional culture and social common value, is both personal and international——like the web, which is both exhilarating and horrifying.

Li Xianting
June 26, 2008